On Saturday, a few hundred journalists, technologists, business-side types, and academics gathered in Atlanta to give out this year’s Online Journalism Awards.

The Guardian won two awards for its Snowden-driven series on surveillance, and both The Boston Globe and the Boston University News Service took home two prizes for their marathon bombing coverage. The New York Times won three prizes, with one of them going to D3.js, the data visualization SVG engine that’s increasingly taking over the web. (D3 is an open source project built by the brilliant Mike Bostock, whose day job is at the Times. I haven’t checked the archives, but I have to imagine it’s the first JavaScript library to take home a major journalism prize.)

Black Gold Boom, which we wrote about in January, won an award, which Zeega shared in. “Snow Fall” won for large feature, surprising few, and other news orgs we’ve written a lot about — The Texas Tribune, Honolulu Civil Beat, WNYC, ProPublica — were winners. (Also, Nieman Lab won in the topical reporting category, for which we are very grateful.)

Go check out the winners list, which includes links to all their work, and be inspired about what you can pull off online these days.

It’s what qualifies as an age-old debate in the digital media business: Web or native apps? The question isn’t really either/or — for most news outlets, the answer is “both” — but since the iPhone arrived, publishers have debated how much emphasis to put behind publishing on the open web vs. building native app experiences for iOS and Android.

Focus too much on apps and you risk being ignored by the social web. Focus too much on the web and you end up being a lonely webview inside someone’s Facebook News Feed. Focus too much on apps and you risk getting lost on the fifth homescreen of someone’s phone. Focus too much on the web and you lose out on tools like push notifications that can drive attention.

For a number of years (and to broadly generalize), it was traditional publishers that ran to apps — think of all the magazines who poured money into building iPad Newsstand apps, trying to reclaim their old paywalled gardens — and the digital natives who bet on the web and winning on social. Again, it was always more nuanced than that — HuffPo had an app or two — but your Gawkers and BuzzFeeds were broadly betting on the open web and social distribution.

We see the App Store as a platform, and it makes sense for us to be experimenting there the same way we experiment on Facebook, Twitter, Pinterest, YouTube, Instagram, Snapchat etc…

I’m often asked why we believe in apps when many media companies are ditching their apps and focusing on pure-web experiences. Another building block of our DNA is to make the best experience for our readers on whatever platform they are on, whether they are finding us on the web or downloading one of our apps directly.

We’re excited about native apps because we can provide deep experiences that aren’t always possible on the web. Providing rich features like notifications, personalization, home screen widgets, offline access, and wearable features can bring huge enhancements to your experience.

There has been a lot of talk about unbundling in the tech industry. At BuzzFeed we’ve thought a lot about our apps and our audience and have spent a lot of time thinking about what makes the most sense for us…

To some people, BuzzFeed is about reading fun lists, taking quizzes and sharing and discussing them amongst their friends. To others, we are a source for vital news and groundbreaking journalism, or for ways to get more out of your life. And to some, we are a source of hilarious videos they love to binge watch.

As we thought about what the best experience for each of these things would be, it became increasingly apparent that shoehorning all the ways to experience BuzzFeed into one app doesn’t make sense. We don’t see it as “unbundling” as much as focusing. Instead of having one baseline for all types of stories and media we need to build apps that can excel at providing the best experience for each.

We’ll see how this works for BuzzFeed, but I think there are a few things underlying this broader shift:

— A broader victory for app use on phones.comScore data: “The average U.S. smartphone user now spends 88 percent of his or her time when using a mobile phone within an app and just 12 percent using the web browser.” (That’s a gap that is widening over time.) Forrester data: Smartphone owners “use an average of 24 apps per month but spend more than 80 percent of their [in app] time on just five apps.” Of course, some of that time in apps is spent on the web — the links you click on Twitter, for instance — but the broad trend is clear: A small number of homescreen icons are increasingly dominating attention, and Safari and Chrome are losing out.

— A recognition of the power of social platforms. (And by “social platforms,” I really just mean Facebook.) As Bloomberg’s Justin Smith put it this week: “The list is a lot longer than is publicly known of those that have Facebook delivering half to two-thirds of their traffic right now.” Facebook’s rumblings about wanting sites to publish their content straight to the platform has reawakened publishers’ desire for greater control of their own destiny than social distribution allows.

— A shift in business strategy. It’s increasingly clear that banner advertising isn’t going to be big enough for most online publishers to sustain their businesses. And it’s clear that the user-data advantage that Google, Facebook, and maybe a few other giants have over publishers isn’t going away. That’s pushed differentiation and the desire to built an environment where engaged users are more easily sold to premium advertisers.

(You could actually read each of those forces as good reasons for the boom of email newsletters too; email is an open platform that most people still have to spend some time in, and the the act of subscribing to a newsletter creates the same sort of engaged, committed relationship that a good app might.)

There are also two complementary forces at work here: the move to apps, and the move to lots of apps. That’s the unbundling bit Johanesen references. Some BuzzFeed readers want cats; some want news; some want videos about how their generation has totally lived a unique and special experience that can only be understood through 90-second videos. The news people will look down on the cat stuff, and probably vice versa — so you give them separate points of entry.

That’s not always an easy bet, though. The New York Times has been quite successful with a unified paywall model, getting around 900,000 people to buy what amounts to an all-you-can-eat package. But its attempts at siphoning off chunks of Times content — NYT Now and the late NYT Opinion — have had less than stellar uptake.

Who knows if these attempts to cloister off user attention will work — the competition is very fierce, and most of the alternatives don’t have the burden of being, you know, news. (Think games, chat apps, Facebook.) And this shift still leaves out most smaller and local publishers, who don’t have the technical game to build good native experiences. But it’s a logical next salvo in the ongoing battle for mindshare.

Medium announced some new updates to its publishing platform today. They include a tagging system (which means more structured data), a redesign of post presentation called The Stream, and an inline editor that’s supposed to make it easier to start writing. This last feature has received the most attention so far, with the general consensus being that Medium is getting “bloggier” (or is it Bloggerier?) and “more like Twitter.”

When I met with Evan Hansen at Medium headquarters in October, he talked about how the site had grown a reputation as a home for longform writing. While Medium loves longform, Hansen said, they were also actively looking for ways to lower the barrier of entry for writers, trying to compel more writers to write more stuff more casually. That’s why, for example, they introduced a commenting format that encouraged readers with something to say to “write a response” in the form of a Medium post. Here’s how Medium (and Twitter) founder Ev Williams put it:

It was not our intention, however, to create a platform just for “long-form” content or where people feel intimidated to publish if they’re not a professional writer or a famous person (something we’ve heard many times).

We know that length is not a measure of thoughtfulness. The quality of an idea is not determined by the polish of the writing. And production value does not determine worthiness of time investment on the web any more than it does at the movie theater.

We also know that sometimes you need to get a thought out in an incomplete form in order for it to grow — by bumping into other brains and breathing in fresh air.

That’s why, today, we’re making some pretty big changes to how Medium works and feels.

Venture-backed sites like Medium need lots of content and lots of users. While being known for free, elegant, digital publishing has worked for Medium so far, it hasn’t brought the hockey-stick user base growth that early investors typically seek. It’s also worth noting that Matter, the digital science magazine that Medium bought and turned into a sort of flagship for what it’s possible to build on Medium, is currently filling a senior editor position that reflects this pivot.

By showing that Medium can be a destination for both the long and the short, the high brow and the low, the goal is to lower the stakes and get more fingers tapping away on Medium.com.

If you’re a weekend denizen of Media Twitter, (a) my apologies and (b) you’ve already seen this Friday blog post from Fredrik deBoer, a doctoral student at Purdue and a smart critic of contemporary media. He’s riffing off of some time spent reading Fusion and noting the sameness of the 2015 News Web:

But [Fusion] just isn’t about anything in the way that the site’s founders and editorial people clearly want it to be…you’re still another site publishing people writing about news and politics and culture and sometimes sports. And in that, you’re joining every other website that publishes about news and politics and culture and sometimes sports.

The mix changes… [here deBoer has a lengthy and funny and telling riff about the various 10-percent-different boxes that online publishers slot themselves into — it’s not fair to excerpt it, go read it all.] But one way or another, you could take 90% of what each of these sites publish and stick it on any other, and nobody would ever know the difference.

I’m sure some people will think I’m talking poop and saying these sites aren’t good. That is not the case. I’m saying that they are all as good or as bad as whatever piece I am reading at the moment. Writers are good or bad, and much more, writing is good or bad. But I no longer know what a website means as an identity, unless that identity is a specific subject. I know what Guns and Ammo is. I know what Road and Track is. (I know what Redtube is.) I don’t know what Fusion is.

I think he’s onto something here, but I want to put a slightly different twist on it. What unites these outlets? (Fusion, Grantland, Slate, The Atlantic, New York, The New York Times Magazine, The New Republic, BuzzFeed, Salon, The Awl, Gawker, Vice, Vox, FiveThirtyEight.) Two things:

They are not local. (New York, Gawker, and The Awl might in some moods claim to be local to New York, but they’re really more about the state of being (or aspiring to be) a New Yorker, which is universal.) This is both deeply obvious and historically strange. Before the Internet, journalism in the United States was intensely local — local newspapers, local television, and local radio, with only magazines really slicing up the market psychographically rather than geographically.

Today, with the Internet taking distribution out of the physical world of broadcast towers and delivery trucks, the media world is even more centered on New York (with honorable mention to D.C./L.A./S.F.) than ever. Add in younger (and cheaper) staffs at most places and you end up with content that is highly shaped by its context — the sort of broad editorial middle that 20something and 30something graduates of good universities like to write. (You’ll also note that these outlets are much more willing to be open about taking left-of-center stances — on, say, same-sex marriage or immigration — than a more geographically dispersed media ecosystem would be, because in that world, there really is only one side to those arguments.)

Most are funded by venture money (Vox, Vice, BuzzFeed), backed by giant corporations (538, Grantland, Fusion), or traditional media companies trying to adjust to the digital world (The Atlantic, The New Republic). In each of those cases, the operative business model of choice requires scale — scale to support national advertising buys. Of the 14 outlets deBoer mentions, only The New York Times Magazine has a paywall of note. Despite what you may hear about events strategies, digital advertising is still very much the big kahuna in their models. And you don’t get sort of scale by being quirky or playing on the culture’s edges.

It’s also worth remembering that this was not The Dream of The Internet from what seems like not that long ago. The power of personal publishing was supposed to be about empowering the little guy — everyone on an equal platform, subcultures to the fore, the crowd and those who make it up given expressive power heretofore unseen. Not a bunch of good but same-ish websites bound by most of the same boxes.

When I talk about digital media, I often fall back on an accordion metaphor: The playing field of any medium takes turns expanding out and crunching back in. The early days of newspapers were filled with handfuls or dozens of papers per city, each attached to a specific audience or political point of view. But over time, they compressed down to a single, establishment daily in most places. The early days of radio were filled with amateur and experimental stations, operating under the regulatory radar. But they quickly divvied up the dial and, through many years of conglomeration, turned into your Clear Channels and Cumulus Medias. It’s a regular pattern — a new format opens up a wide space for experimentation and audience targeting, and then business forces compress it down into a few big players.

We’ve already seen a version of this online in the political blogosphere (that quaint word), which a decade ago was a lively place with many thousands of blogs, some big, some small, all operating and interlinking on the open web. That’s mostly been subsumed by a much smaller set of large political sites on both left and right that are both professionalized and monetized. The formation of the broad content middle deBoer describes is a logical next step in that process. There’ll still be the little magazines and their equivalent, but they’ll enter the broader conversation insofar as they get aggregated up the food chain. (And of course “personal publishing” has long moved to the biggest players I haven’t mentioned yet: Facebook, Twitter, and the other social platforms that are even more all-encompassing — and aim to stake even further claim to their domain.)

The image of the accordion crunching back in doesn’t have to mean a financial crunch; lots of people made lots of money in the consolidation of readers and outlets in newspaper and radio. What deBoer is really describing is the re-creation of mass media — a little younger-skewing than the last one, sure, but the same sort of broad zone of uniformity.

Vox Sentences is Vox’s evening email newsletter, designed to be a wrapup of the day’s top news — we wrote about it back in October when it entered the ever-crowding arena of news-roundup emails. Vox Sentences’ major differentiators are its timing (evening rather than morning) and its format — a series of scannable one-sentence bullet points with links. For example, here’s a screenshot of Tuesday’s email. (I’ve shrunk down the type size so you can see more of it; it arrives at a much more readable size, I can assure you.)

On Wednesday, Vox tried out a different style in its email and asked for feedback. The change: The bullet points were turned into meaty paragraphs, rich with context, links, and something closer to traditional narrative prose. Another screenshot (also with the type shrunk down):

Who doesn’t like context and narrative prose? Well, the readers of Vox Sentences. Last night, Vox ended the experiment when the response was fierce.

Format update: The votes are in, and man, you guys really did not care for yesterday’s Sentences format! It wasn’t even close. 177 people wrote in, and 169 expressed a clear preference one way or the other (many thanks to the very sweet people who said they’d read it in any format). 32 preferred the new version, while 137 liked the old one better.

That’s an 81 percent to 19 percent margin. Dictators win elections by smaller margins than that. We’ll keep experimenting with how we do Sentences — today’s the first day we’ll have pictures in the email version, for example — but for now, it’s back to bullets all the way through.

I’d side with the majority here. If you asked me what morning email newsletter about journalism has the most and best content, I’d probably go with the American Press Institute’s Need To Know. But at the same time, some of its formatting and style is so dense that it can be offputting. It’s hard to scan a paragraph like this one from this morning’s edition:

More broadly, it’s a reminder that, for all the buzz around The Email Newsletter Renaissance, we’re still figuring out the formats — length, structure, content — that work. There’s still a lot of space for evolution and experimentation.

One question that’s been asked a lot since Jeff Bezos bought The Washington Post is how involved he is in the newspaper’s evolution. Bezos hasn’t spoken in much detail about the subject. (One of his relatively few public comments about his ownership starts at 42:45 of this Business Insider video.) Media references to the Post’s real successes of the past year sometimes seem to give credit to his magical touch — but how engaged is he, really, given that other pretty big company he owns?

Joey Marburger, the Post’s director of digital products and design, precipitated a tweetstorm last night that opened a small window into Bezos’ involvement in the development of the Post’s Kindle Fire app:

Two quick thoughts. First, the Kindle Fire app they built is an nice piece of work, with an interesting UX and a twist on the linear-reading model a print newspaper offers. But you probably haven’t heard much about it since its release — because it’s locked on the Kindle Fire, a tablet not that many people use, but which Bezos’ other company happens to make.

In business, they call it a strategy tax when something makes a product less likely to succeed but advances larger corporate goals. (Think Microsoft refusing for so long to release Office for iOS, where it likely would have been a success, because it wanted to prop up its own Windows mobile platforms.) I don’t think it’s a stretch to say there is zero chance this would have launched exclusive to the Kindle Fire if Jeff Bezos was not the owner of the newspaper. It’ll be worth watching to see to what degree future interesting Post work gets constrained to Amazon platforms.